Smart, sardonic and more than a little silly, Iron Man is a
successful superhero movie that never takes itself too seriously. Here is a
popcorn movie with a will to entertain, at turns evoking James Bond, Batman
Begins and Transformers; if it’s not in the same league as Batman Begins, it’s
better (and shorter) than Transformers, with a redemptive angle foreign to
James Bond.

Directed by Jon Favreau (Zathura), Iron Man is a rare
superhero origin story that is also a conversion story. Peter Parker, Clark
Kent and Bruce Wayne are sympathetic characters from the first time we meet
them. Peter Parker might go through a selfish phase and have to learn the hard
way about power and responsibility, but that’s because his sudden acquisition
of spider-powers proves too much for his adolescent maturity level.

By contrast, Tony Stark (Robert Downey Jr.) is pushing
middle age, but like many jet-setters he has never gotten past that high-powered
adolescence.

A brilliant, super-rich industrialist entrepreneur and a
tabloid celebrity, Tony is a sort of cross between George Clooney and Bill
Gates — a figure more like Howard Hughes than anyone who has come along since,
which isn’t surprising, since Hughes was allegedly one of the principal
inspirations for the character.

Catholic blogger Mark Shea sometimes posts commentary under
the category “Paris Hilton People in an Apocalyptic World.” That’s Tony to a T.
His armor may be iron, but underneath he has feet of clay.

Although the armored Marvel Comics hero is often considered
something of a counterpart to DC icon Batman, James Bond is in some ways a more
apt comparison. Superficially Tony might resemble Bruce Wayne: an ultra-wealthy
industrialist entrepreneur and media celebrity with a reputation as a ladies’
man, a hero without innate powers who relies on high-tech arsenals of his own
devising.

Yet Bruce Wayne’s millionaire-playboy persona is a
subterfuge, much like Clark Kent’s nervous milquetoast shtick. Casinos,
cocktails and beautiful celebrities are Bruce’s alibi, his cover story; he is
in that world, but never of it.

Tony, like Bond, is at one with that world. For Bond,
seducing the villain’s woman is an end in itself, no less important in its own
way than saving the free world. Tony doesn’t personally set out to save the
free world, but he manufactures and sells weapons to the military, which he
conveniently figures is the next best thing.

If Tony Stark leads something of a James Bond lifestyle, the
movie he’s in is capable of critiquing that lifestyle in a way 007’s films
aren’t known for. An early scene shows Tony casually seducing a beautiful
reporter with a couple of suggestive lines during a passing interview, as Bond
might do.

But the next morning the reporter, Christine Everhart
(Leslie Bibb), wakes up alone in the cavernous emptiness of Tony Stark’s
cliffside mansion in Malibu. Instead of Tony, she finds only his executive
secretary Pepper Potts (Gwyneth Paltrow), who is authorized to offer her a ride
wherever she wishes to go. Belatedly feeling used, Tony’s latest conquest takes
a swipe at Pepper’s relationship with Tony — prompting Pepper to observe that
her duties include doing whatever Mr. Stark needs done, “including occasionally
taking out the trash.”

Once Christine is gone, we learn that Tony was in fact
working in his basement workshop the whole time. “How’d she take it?” Tony asks
neutrally, and Pepper, though clearly disapproving, gives the cad the answer he
wants to hear. All this morning-after discomfiture would have no place in a 007
film.

Tony’s lifestyle is more dramatically cross-examined when,
during a trip to Afghanistan pitching his latest weapons line to the military,
he is kidnapped by Afghani insurgents armed with his own products. In the mêlée
Tony is nearly killed by shrapnel from one of his own missiles, and shrapnel
buried in his chest threatens to work its way to his heart. Fortunately a
fellow prisoner, a medical doctor named Yinsen (Shaun Toub), saves his life
with a rather grisly bit of comic-book field surgery: Tony now has an
electromagnet implanted in his chest.

A family man, Yinsen asks Tony during their captivity whether
he has a family. No, Tony replies. “Ah,” Yinsen replies. “The man who has
everything … and nothing.”

The experience opens Tony’s eyes, not least because he sees
his own merchandise being used against American troops. When he returns from
his ordeal, he wants to take his life — and his company — in a new direction,
much to the consternation of the board of directors, not to mention the stock
market.

Before long, Tony begins to suspect that his company is
being used for illicit profiteering. What political implications there are
include bones for both sides of the aisle: The film suggests the dangers of
ill-advised American meddling in the Middle East, but also underscores the
barbarity of the insurgents, above all in a fantasy-fulfilling set piece in
which Iron Man drops into an Afghan town under assault and takes the insurgency
into his own gauntleted hands.

Throughout all this, Iron Man’s biggest asset is the gusto
of Downey Jr.’s performance. The actor chews his lines with relish, embracing
Tony’s take-charge personality without losing sight of hints of insecurity
beneath the façade.

Bridges, too, brings cunning and charisma to Obadiah Stane;
only soft-spoken Terrence Howard makes little impression as Rhodey, though to
be fair he isn’t given much to work with.

Like most super-hero origin stories, Iron Man stumbles
somewhat in the final act. Having spent most of the film establishing the hero,
the film has no time left to do justice to the villain and their third-act
confrontation. (The same pitfall can be seen in Spider-Man and the 1978
Superman film; the best efforts to overcome the problem remain the first X-Men
movie and Batman Begins.) Still, the first two acts are strong enough to power
Iron Man above most recent Marvel adaptations, placing it comfortably beside
Spider-Man among the more enjoyable superhero origin stories.

Read more of Steven D. Greydanus

on the movies at DecentFilms.com.

CONTENT ADVISORY

Realistic and comic-book war-zone violence; some immoderate
drinking, innuendo and suggestive material, including a brief bedroom scene (no
nudity); a couple of wince-inducing scenes involving Tony’s chest injury; some
objectionable language, including at least one instance of profanity. Might be
okay for older teens.

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